Homeless man, nestled in the doorway of the copy shop for the night. Flattened Dell box makes a thin cardboard wall between man and street. The news plays on his radio. All I see are his legs, curled up under a thin blanket.
As I pass, he starts to sing. The man's voice over the sound of the radio, clear and younger than I'd expect.
"Don't stop belie-eeving....doo doo dooo
"Hold on to the fee-ee-elin'..."
I can hear my boots echo on the sidewalk as I turn the corner. You and me both, friend.
Thursday, April 21, 2011
Tuesday, April 19, 2011
Cleaning
It's well after midnight on a Monday night. A police car has driven up onto the brick plaza, one cop on either side of a guy with long blond hair and blotchy red cheeks. The hair looks like a wig, parted in the middle and straight curtains on either side. The blotches might be scrapes, or sores. I want to look more closely as I pass, but it's rude to stare. An arrest feels oddly personal.
I'm stopping for a quick snack; dinner was missed. The only choices this late are Donut World and Carl's Jr. I don't want doughnuts. The man in front of me orders loudly, startling me, but the guy behind the counter only blinks. He sees it all, at the Civic Center Carl's Jr.
Outside on the plaza, a man is pressure-washing the pavement. It's not one of those tiny wands; it's a wide-open hose, and the man leans into it like a Laurel & Hardy bit. He leans forward, held up by nothing but the force of the water.
Something about his hat, the high-visibility suit, his calm eyes - he looks like he belongs on the Mongolian steppes.
I watch him slowly wrestle the hose from one spot of pavement to another. I'm envious. He begins his work with filthy pavement. He turns on the water and makes it clean, washing away the pieces left behind by the masses of people: dead skin, vomit, hair, excrement, food, all of it, clean as the day the world was born.
The best job I ever had was washing pots at a restaurant. I came in early in the morning and worked my way through the stack of pots, sunlight streaming in the back door, music on the radio, me and the pots, each one moving through my hands until it shone on the rack.
This is a beautiful thing, just this: begin with something soiled and make it clean. Reset. Start over.
I'm stopping for a quick snack; dinner was missed. The only choices this late are Donut World and Carl's Jr. I don't want doughnuts. The man in front of me orders loudly, startling me, but the guy behind the counter only blinks. He sees it all, at the Civic Center Carl's Jr.
Outside on the plaza, a man is pressure-washing the pavement. It's not one of those tiny wands; it's a wide-open hose, and the man leans into it like a Laurel & Hardy bit. He leans forward, held up by nothing but the force of the water.
Something about his hat, the high-visibility suit, his calm eyes - he looks like he belongs on the Mongolian steppes.
I watch him slowly wrestle the hose from one spot of pavement to another. I'm envious. He begins his work with filthy pavement. He turns on the water and makes it clean, washing away the pieces left behind by the masses of people: dead skin, vomit, hair, excrement, food, all of it, clean as the day the world was born.
The best job I ever had was washing pots at a restaurant. I came in early in the morning and worked my way through the stack of pots, sunlight streaming in the back door, music on the radio, me and the pots, each one moving through my hands until it shone on the rack.
This is a beautiful thing, just this: begin with something soiled and make it clean. Reset. Start over.
Friday, April 15, 2011
Uncle Stan
Like me, he was the youngest of the siblings. Like me, he was the black sheep. I don't remember a time when I didn't have a crush on Uncle Stan. Long legs in jeans, cowboy boots, mustache just clearing the corners of his mouth. Must have been six feet, more. In my imagination, Uncle Stan is a giant.
I was pouring drinks for a guy the other night, and he told me about his boss. He said his boss was like Steve Jobs, he carried around with him a reality distortion field. And if you were in range, you'd fall right in, you believed anything he said.
Uncle Stan had a reality distortion field. Though his range might have been smaller than Steve Jobs', it was no less potent for those in its path.
I remember Uncle Stan's trailer parked out front of our house. The little door in the back, the two rickety steps up, Stan's mobile bachelor pad. He smelled like cigarettes and occasionally alcohol, although I didn't know it at the time. I only knew his breath was thrillingly scandalous in a culture that neither drank nor smoked.
But about that distortion field: Stan had a scheme, an idea. Uncle Stan always had a scheme. Rumors of having been a bounty hunter. He had a ceramic duck in his trailer. Uncle Stan with the ceramic duck in his hands, he lifts the head, and it's a lid! The ceramic duck is a soup tureen! Uncle Stan described a restaurant with hundreds of these ceramic ducks, the old ladies would go nuts for them. A theme restaurant, all about home cooking, country cuisine.
I believed in Uncle Stan's restaurant, with the ceramic ducks. I believed in Uncle Stan. Married seven times, I think. Twice to the same woman. The distortion field worked on them as well. For a while.
Uncle Stan, why do I love you so? I never lost that six-year-old hero worship, born when you helped us rescue the baby jackrabbit after our cat ate its mother. The jackrabbit died, but it wasn't your fault. You'd moved on.
I love you even after you got Grandpa to sign the ranch over to you. After you let it fall into mud, after you sold it to a stranger who presumably took possession after you died. I love you in that heartsick way when I hear about the ranch turned to mud and ruin. The ranch where my mom grew up, before you. The ranch that made my summers summer, where I picked corn and strawberries, where I crept into the henhouse and slid my hand under the fluff of a hen for the warm egg. Where my brothers killed rattlesnakes, coming home like heroes, rattler corpses hanging on sticks.
Ranch of my heart, my paper plate art on the wall in the men's bunkhouse, Reader's Digests from the '40's in the rock house, the fire and Grandpa worrying a toothpick, his head tremoring lightly.
The last time I saw Stan, he sat in front of the fire like Grandpa, his long legs extended to absorb the warmth. A toothpick worrying his mouth.
There's nothing left of the ranch, my brothers warn me not to even go there, it's too depressing. Nothing left, they say. Not even Grandpa's hybrid corn stalks, growing black and blue and red kernels for festive popcorn.
After Grandma and Grandpa died, Stan went missing. His ex-wife stopped by, worried she hadn't heard from him. She found his body on the property, a bullet in his head. There were whispers of suicide, even murder, but the inquest found it was an accident. He'd rested his shotgun against the fence when climbing over, it fell, it went off. He should have known better.
Uncle Stan's Vietnam buddies threw him a wake. They made him a wreath of barbed wire and sunflowers. Sunflowers, like the ones that grew above my head, nodding down at me as I ran through the fields at the ranch.
I was pouring drinks for a guy the other night, and he told me about his boss. He said his boss was like Steve Jobs, he carried around with him a reality distortion field. And if you were in range, you'd fall right in, you believed anything he said.
Uncle Stan had a reality distortion field. Though his range might have been smaller than Steve Jobs', it was no less potent for those in its path.
I remember Uncle Stan's trailer parked out front of our house. The little door in the back, the two rickety steps up, Stan's mobile bachelor pad. He smelled like cigarettes and occasionally alcohol, although I didn't know it at the time. I only knew his breath was thrillingly scandalous in a culture that neither drank nor smoked.
But about that distortion field: Stan had a scheme, an idea. Uncle Stan always had a scheme. Rumors of having been a bounty hunter. He had a ceramic duck in his trailer. Uncle Stan with the ceramic duck in his hands, he lifts the head, and it's a lid! The ceramic duck is a soup tureen! Uncle Stan described a restaurant with hundreds of these ceramic ducks, the old ladies would go nuts for them. A theme restaurant, all about home cooking, country cuisine.
I believed in Uncle Stan's restaurant, with the ceramic ducks. I believed in Uncle Stan. Married seven times, I think. Twice to the same woman. The distortion field worked on them as well. For a while.
Uncle Stan, why do I love you so? I never lost that six-year-old hero worship, born when you helped us rescue the baby jackrabbit after our cat ate its mother. The jackrabbit died, but it wasn't your fault. You'd moved on.
I love you even after you got Grandpa to sign the ranch over to you. After you let it fall into mud, after you sold it to a stranger who presumably took possession after you died. I love you in that heartsick way when I hear about the ranch turned to mud and ruin. The ranch where my mom grew up, before you. The ranch that made my summers summer, where I picked corn and strawberries, where I crept into the henhouse and slid my hand under the fluff of a hen for the warm egg. Where my brothers killed rattlesnakes, coming home like heroes, rattler corpses hanging on sticks.
Ranch of my heart, my paper plate art on the wall in the men's bunkhouse, Reader's Digests from the '40's in the rock house, the fire and Grandpa worrying a toothpick, his head tremoring lightly.
The last time I saw Stan, he sat in front of the fire like Grandpa, his long legs extended to absorb the warmth. A toothpick worrying his mouth.
There's nothing left of the ranch, my brothers warn me not to even go there, it's too depressing. Nothing left, they say. Not even Grandpa's hybrid corn stalks, growing black and blue and red kernels for festive popcorn.
After Grandma and Grandpa died, Stan went missing. His ex-wife stopped by, worried she hadn't heard from him. She found his body on the property, a bullet in his head. There were whispers of suicide, even murder, but the inquest found it was an accident. He'd rested his shotgun against the fence when climbing over, it fell, it went off. He should have known better.
Uncle Stan's Vietnam buddies threw him a wake. They made him a wreath of barbed wire and sunflowers. Sunflowers, like the ones that grew above my head, nodding down at me as I ran through the fields at the ranch.
Thursday, April 14, 2011
Excuses
I've had the flu. The transition to freelance is a bitch. I should be copyediting. I should be updating my website, facebook. I should be working on the database. The dishes/laundry/housework need doing.
I've been trained well in a sense of obligation. Not so good at execution, but I wear my guilt like a cape, a superhero of self-recrimination. Like it makes a difference.
Ask me what is the most important thing I could be doing right now, and my answer is writing. So why are so many hours of my day spent doing anything but? Because I have no looming deadline. Because nobody is tapping a foot, waiting for the next chapter of my novel. Because other little tasks push in, promising a bubble of effort and then it's done. And then I can write. But another task is behind the first, and then another, like needy children.
Because of the fear. Because I didn't get a Stegner fellowship. Because I look over my novel in progress, the best thing I've written to date, and it wasn't good enough to get me a Stegner. Because the suspicion wells up that I'm fooling myself, hearing only what I want to hear, that I'll never be good enough. Because I make the awful mistake of reading other writers write about writing, and I think, if I'm not doing that, maybe I'm not a real writer.
I picture a crowd of people focused on me, expecting something. Expecting perfection, greatness. A perfect copyedit. A perfect database. A perfect girlfriend, hostess, friend. A perfect novel.
But that's just ego. Nobody gives me that much thought, nobody expects perfection.
I have to get outside, be in the crowd, see other people being the heroes of their own stories, and then it all quiets down. Let ego and the thousand tasks float away in their bubbles and I can come back to what matters. And then the words flow.
The bus driver with her newly-waved hair falling over her shoulders. The woman in office wear, carefully carrying a paper plate of food covered with another paper plate. The man on a bluetooth headset talking exuberantly, stepping out from every curb, waiting for the light to change so he can hurry across the street, light on his feet as a dancer. Where I am anonymous, my eyes as big as the block, the city, the whole world, seeing everything I can.
I've been trained well in a sense of obligation. Not so good at execution, but I wear my guilt like a cape, a superhero of self-recrimination. Like it makes a difference.
Ask me what is the most important thing I could be doing right now, and my answer is writing. So why are so many hours of my day spent doing anything but? Because I have no looming deadline. Because nobody is tapping a foot, waiting for the next chapter of my novel. Because other little tasks push in, promising a bubble of effort and then it's done. And then I can write. But another task is behind the first, and then another, like needy children.
Because of the fear. Because I didn't get a Stegner fellowship. Because I look over my novel in progress, the best thing I've written to date, and it wasn't good enough to get me a Stegner. Because the suspicion wells up that I'm fooling myself, hearing only what I want to hear, that I'll never be good enough. Because I make the awful mistake of reading other writers write about writing, and I think, if I'm not doing that, maybe I'm not a real writer.
I picture a crowd of people focused on me, expecting something. Expecting perfection, greatness. A perfect copyedit. A perfect database. A perfect girlfriend, hostess, friend. A perfect novel.
But that's just ego. Nobody gives me that much thought, nobody expects perfection.
I have to get outside, be in the crowd, see other people being the heroes of their own stories, and then it all quiets down. Let ego and the thousand tasks float away in their bubbles and I can come back to what matters. And then the words flow.
The bus driver with her newly-waved hair falling over her shoulders. The woman in office wear, carefully carrying a paper plate of food covered with another paper plate. The man on a bluetooth headset talking exuberantly, stepping out from every curb, waiting for the light to change so he can hurry across the street, light on his feet as a dancer. Where I am anonymous, my eyes as big as the block, the city, the whole world, seeing everything I can.
Sunday, April 10, 2011
Fallen, fallen
I see him in the mornings as I'm walking. He wears a sandwich board that carries the quote from Revelations: Fallen, fallen is Babylon.
The man in the sandwich board and the middle-aged people doing their morning tai chi in the park. A second group uses fans, the sound as they whip them open like a flock of monstrous birds clapping their wings in unison.
Two young women cling to each other in their walk-of-shame party dresses, tiny skirts and teetering, golden heels. Across the street two Mormon missionaries - about the same age as the girls - the boys' cheeks fresh, they seem happy to be here, walking past the sex club, the homeless men lying on the sidewalk, shirts slid up to warm their bellies in the sun, one with his hand tenderly down the front of his pants.
God damn it, you’ve got to be kind, my man Vonnegut whispers, and I try to climb inside the people I pass, to find the human center.
The man making broken, crazed cat's cradles asks for change, can't I give him something, anything? He looks healthy, lucid, young, capable of caring for himself, so why does he insist, why push for something from me?
I don't know. I don't know if he might be as unmapped as the strings in his hands, beaten and hungry in ways I can't see. Can I forgive him, the girls in their shoes worth more than my monthly rent, the hipsters laying out a picnic in the middle of the busy sidewalk, the pushy tourists with their Dolce & Gabbana shopping bags?
Does it matter?
I'm in my neighborhood now. The man walking in front of me steps on his right leg and the knee buckles out to the side. An old break that was badly set. My grandfather had the same limp, the same awful buckle that made me cover my eyes and peek between my fingers.
I shake my head at the man selling Street Sheets, but he calls after me as I pass, Thank you for the smile, he says. Thank you.
The man in the sandwich board and the middle-aged people doing their morning tai chi in the park. A second group uses fans, the sound as they whip them open like a flock of monstrous birds clapping their wings in unison.
Two young women cling to each other in their walk-of-shame party dresses, tiny skirts and teetering, golden heels. Across the street two Mormon missionaries - about the same age as the girls - the boys' cheeks fresh, they seem happy to be here, walking past the sex club, the homeless men lying on the sidewalk, shirts slid up to warm their bellies in the sun, one with his hand tenderly down the front of his pants.
God damn it, you’ve got to be kind, my man Vonnegut whispers, and I try to climb inside the people I pass, to find the human center.
The man making broken, crazed cat's cradles asks for change, can't I give him something, anything? He looks healthy, lucid, young, capable of caring for himself, so why does he insist, why push for something from me?
I don't know. I don't know if he might be as unmapped as the strings in his hands, beaten and hungry in ways I can't see. Can I forgive him, the girls in their shoes worth more than my monthly rent, the hipsters laying out a picnic in the middle of the busy sidewalk, the pushy tourists with their Dolce & Gabbana shopping bags?
Does it matter?
I'm in my neighborhood now. The man walking in front of me steps on his right leg and the knee buckles out to the side. An old break that was badly set. My grandfather had the same limp, the same awful buckle that made me cover my eyes and peek between my fingers.
I shake my head at the man selling Street Sheets, but he calls after me as I pass, Thank you for the smile, he says. Thank you.
Sunday, April 03, 2011
Reply to a Craigslist missed connection
Kaitlin (caitlin?) from **** - m4w - 22 (downtown / civic / van ness)
I was the bearded guy that really liked beer. you were pleasant. :)
Dear bearded beer-lover,
I wish there had been Craigslist when I was your age. Back then, I met someone or I saw them once and maybe never again. Our eyes would meet across tables in the library, and for weeks I would carry the heat of that look in my head, straining to see him just one more time.
I did answer a classified ad, in the campus alternative newspaper: Male Agnostic Seeks Female of Similar Disbelief. Agnostics were a rarity at Brigham Young. We met, we drove to Pasadena to meet his family, we stayed at an empty friend's house on the beach. We blew bubbles that landed and popped on our naked skin. I don't remember how it ended. He wrote great letters.
When I was your age, 22-year-old boy, you were barely born. You were pushing your way out of your mother's belly and into the world.
I think I remember you. Do you know how many bearded boys I poured beer for that weekend? But I remember asking to see your ID, remarking that beards didn't fool me. Even so, you looked a bit older than twenty-two. You circled back more than once for a refill.
Or were you the one who asked for one big beer?
Either way, dear boy, I thank you. Your words covered me in sunshine, and I imagined another life, where I was twenty-two years old, now, in San Francisco.
What a blaze I'd cut through this city.
I was the bearded guy that really liked beer. you were pleasant. :)
Dear bearded beer-lover,
I wish there had been Craigslist when I was your age. Back then, I met someone or I saw them once and maybe never again. Our eyes would meet across tables in the library, and for weeks I would carry the heat of that look in my head, straining to see him just one more time.
I did answer a classified ad, in the campus alternative newspaper: Male Agnostic Seeks Female of Similar Disbelief. Agnostics were a rarity at Brigham Young. We met, we drove to Pasadena to meet his family, we stayed at an empty friend's house on the beach. We blew bubbles that landed and popped on our naked skin. I don't remember how it ended. He wrote great letters.
When I was your age, 22-year-old boy, you were barely born. You were pushing your way out of your mother's belly and into the world.
I think I remember you. Do you know how many bearded boys I poured beer for that weekend? But I remember asking to see your ID, remarking that beards didn't fool me. Even so, you looked a bit older than twenty-two. You circled back more than once for a refill.
Or were you the one who asked for one big beer?
Either way, dear boy, I thank you. Your words covered me in sunshine, and I imagined another life, where I was twenty-two years old, now, in San Francisco.
What a blaze I'd cut through this city.
Saturday, April 02, 2011
The International Art Museum of America
The International Art Museum of America has opened its doors. It is on my block, just down from cherry-red suits, long jackets and matching banded hats in the men's clothing store and the Marinello School of Beauty. Already the front windows have been tagged, etched for permanence, for a place in history.
The International Art Museum of America is Doric columns and gold leaf, a wide, shining lobby. The windows that face on the street open on a jungle scene, a Disneyland fantasy of fake moss and plastic huts, one wall covered in jungle photo wallpaper that reminds me of a neighbor's basement in Utah. The forest wallpaper behind the ping-pong table. I can see seams between the sheets of paper.
Beyond and through the jungle I glimpse more white columns and the corner of a heavy gold picture frame. Another window sends back a mirror image of me, looking through the glass, tiny and lost in a block-deep jungle.
My neighbors totter by in varying states of lucidity. A woman with ruddy cheeks jumps back visibly, shocked by the scene through the glass. She turns and I see she's only a girl, her head loose on her neck in a way I recognize, white-knuckling her way to ageless and burned out like the girl with the tattooed Raggedy-Ann face, the outline of a grin that fools you into thinking she's smiling.
Like the girl who wears the night before in the shape of a red, swollen eye. The eyeball itself looks damaged, hanging the wrong way in her face, but she greets a friend like it's nothing at all, Hey Boo, what's up, huh?
The International Art Museum of America is closed as I walk by. A neighbor from my building smiles and says Isn't it wonderful? I tell him it looks like an amusement park. He says, I don't know what it is, but I want to visit!
Is it a sign of things to come? Is money lapping at our shores, the wave rolling up from Powell, washing clean the streets? The International Art Museum of America, then Twitter, and it's only up from here, my junkie neighbors pushed out and richer, whiter people moving in.
And will rents rise so I'm pushed out with the rest? Will the line fall above or below me?
The International Art Museum of America doesn't care where my neighbors go, some other neighborhood, filthying up their sidewalks. But they're tenacious here, they've held on through more urban renewal projects than this, and they might hold on still.
A man with matted hair and one bare, filthy foot, leans in toward the "wooden" hut behind the glass. A shining line of drool hangs unbroken from his lip to the sidewalk below.
The International Art Museum of America is Doric columns and gold leaf, a wide, shining lobby. The windows that face on the street open on a jungle scene, a Disneyland fantasy of fake moss and plastic huts, one wall covered in jungle photo wallpaper that reminds me of a neighbor's basement in Utah. The forest wallpaper behind the ping-pong table. I can see seams between the sheets of paper.
Beyond and through the jungle I glimpse more white columns and the corner of a heavy gold picture frame. Another window sends back a mirror image of me, looking through the glass, tiny and lost in a block-deep jungle.
My neighbors totter by in varying states of lucidity. A woman with ruddy cheeks jumps back visibly, shocked by the scene through the glass. She turns and I see she's only a girl, her head loose on her neck in a way I recognize, white-knuckling her way to ageless and burned out like the girl with the tattooed Raggedy-Ann face, the outline of a grin that fools you into thinking she's smiling.
Like the girl who wears the night before in the shape of a red, swollen eye. The eyeball itself looks damaged, hanging the wrong way in her face, but she greets a friend like it's nothing at all, Hey Boo, what's up, huh?
The International Art Museum of America is closed as I walk by. A neighbor from my building smiles and says Isn't it wonderful? I tell him it looks like an amusement park. He says, I don't know what it is, but I want to visit!
Is it a sign of things to come? Is money lapping at our shores, the wave rolling up from Powell, washing clean the streets? The International Art Museum of America, then Twitter, and it's only up from here, my junkie neighbors pushed out and richer, whiter people moving in.
And will rents rise so I'm pushed out with the rest? Will the line fall above or below me?
The International Art Museum of America doesn't care where my neighbors go, some other neighborhood, filthying up their sidewalks. But they're tenacious here, they've held on through more urban renewal projects than this, and they might hold on still.
A man with matted hair and one bare, filthy foot, leans in toward the "wooden" hut behind the glass. A shining line of drool hangs unbroken from his lip to the sidewalk below.
Sunday, February 20, 2011
A certain delight
I glance out the window as I leave the apartment and see sunshine, sunshine, and then a quiet shhhhh and a curtain of rain is falling, the shhhhhhhh like a whispered secret, thundering into my heart.
I step outside and see tiny white pebbles popping into being on the sidewalk. Not rain, then. Hail.
Rain and hail, and I squint at my weather widget in the middle of the night, at the graphic of snowflakes, the temperature in the '30's. I never see the rumored snow, but it's cold and wet, rain in sudden drops, over in moments.
At the bus stop, a man smiles wide, It's so cold! he says. Yes! says the woman beside me. And the rain!
We seem to take a certain delight in the sideways weather. We smile at each other from beneath our umbrellas, hats, hoods.
It's evening, and I'm helping at the opening of an art show. I'd expected a small crowd, San Franciscans are easily put off by bad weather. But I'm pouring drinks as quickly as I can, more people appearing, shaking off the rain.
At one end of the bar a man turns, and I see his face: Jello Biafra. J. gets him a beer before I can hop to it, and he disappears.
It's late, the art crowd is putting on their layers and slipping out the door, and there goes Biafra. I pout, and my friends shoo me down the hall. He hasn't left yet, they say.
He's at the door, and I'm one of those fangirls, but I have to thank him. Your music kept me sane when I was a kid, I tell him. He remembers the last show I saw him play, in Seattle, during the WTO riots. They'd closed off downtown but kept open a route for people with tickets to the concert. Helicopters overhead, tear gas, craziness outside, but inside it was Biafra with the WTO Band. It felt like an ark in a storm, and we didn't want the show to end, the lights warm, the crowd surfing the tide of music and adrenaline, the brotherhood of protest. We believed we could change the world. The world changed us, but sometimes I can still find that belief. The Egyptians changed their world, and the inspiration is catching. It's spread all the way to Wisconsin.
I'm glad you kept your hair gray, says Biafra, on his way out into the night.
It's after two when we lock up and head home. The rain has stopped, lights shining on wet streets.
I step outside and see tiny white pebbles popping into being on the sidewalk. Not rain, then. Hail.
Rain and hail, and I squint at my weather widget in the middle of the night, at the graphic of snowflakes, the temperature in the '30's. I never see the rumored snow, but it's cold and wet, rain in sudden drops, over in moments.
At the bus stop, a man smiles wide, It's so cold! he says. Yes! says the woman beside me. And the rain!
We seem to take a certain delight in the sideways weather. We smile at each other from beneath our umbrellas, hats, hoods.
It's evening, and I'm helping at the opening of an art show. I'd expected a small crowd, San Franciscans are easily put off by bad weather. But I'm pouring drinks as quickly as I can, more people appearing, shaking off the rain.
At one end of the bar a man turns, and I see his face: Jello Biafra. J. gets him a beer before I can hop to it, and he disappears.
It's late, the art crowd is putting on their layers and slipping out the door, and there goes Biafra. I pout, and my friends shoo me down the hall. He hasn't left yet, they say.
He's at the door, and I'm one of those fangirls, but I have to thank him. Your music kept me sane when I was a kid, I tell him. He remembers the last show I saw him play, in Seattle, during the WTO riots. They'd closed off downtown but kept open a route for people with tickets to the concert. Helicopters overhead, tear gas, craziness outside, but inside it was Biafra with the WTO Band. It felt like an ark in a storm, and we didn't want the show to end, the lights warm, the crowd surfing the tide of music and adrenaline, the brotherhood of protest. We believed we could change the world. The world changed us, but sometimes I can still find that belief. The Egyptians changed their world, and the inspiration is catching. It's spread all the way to Wisconsin.
I'm glad you kept your hair gray, says Biafra, on his way out into the night.
It's after two when we lock up and head home. The rain has stopped, lights shining on wet streets.
Sunday, February 13, 2011
It's Sunday and still no post
I can bring myself to the writing the way you drag yourself to do the dishes, one after another, the water flowing over a bowl, a plate, sun is shining in behind you and the sound of the water becomes a song, you had only meant to clean one or two but now the rhythm has you, you are wiping down the empty counter, dishes stacked and dripping dry, order restored, a little space opened up in your apartment, a space in your head where you can breathe and see a scrap of horizon.
If I tip my head to the right and shake it slightly, out falls the woman with the black leather eyepatch and upright 'fro, sunshine cutting down the north side of Market, the man on the bike arguing with the guy from the store that sells cheap Giants t-shirts and Raiders hats. The store guy demands his money, and the man on the bike, his mouth full of sandwich, replies, If you want to make a claim against my estate...
From him to my morning run, past the store with its doors open and drop cloths and ladders and two men in white coveralls with paint rollers, past another runner and a morning-shifter with his lunch in a paper bag. The guy in street-person clothes: layers and layers, short over long and all mud and dark colors. He startles at the sound of my feet slapping pavement behind him, his shoulders relaxing when his eyes dial in. It's still pitch black in the canyon of downtown, but when I get home, the sky is pale out my window.
It's been early spring for a week, and a girl in a pink, one-shouldered sundress steals my breath. I watch her where she sits in the cafe, her bare feet jiggling over her flip-flops, wide mouth open and smiling at what she reads, her awareness of her own beauty, bare shoulder an aching reminder of better worlds hidden somewhere in her curling hair, in the blades of grass outside.
The sun has shone and I've worn skirts and walked until I was browner than a week in Mexico, but tomorrow the rain is back. Tomorrow is Monday, and work, and maybe dishes, maybe a morning run along shining wet sidewalks.
If I tip my head to the right and shake it slightly, out falls the woman with the black leather eyepatch and upright 'fro, sunshine cutting down the north side of Market, the man on the bike arguing with the guy from the store that sells cheap Giants t-shirts and Raiders hats. The store guy demands his money, and the man on the bike, his mouth full of sandwich, replies, If you want to make a claim against my estate...
From him to my morning run, past the store with its doors open and drop cloths and ladders and two men in white coveralls with paint rollers, past another runner and a morning-shifter with his lunch in a paper bag. The guy in street-person clothes: layers and layers, short over long and all mud and dark colors. He startles at the sound of my feet slapping pavement behind him, his shoulders relaxing when his eyes dial in. It's still pitch black in the canyon of downtown, but when I get home, the sky is pale out my window.
It's been early spring for a week, and a girl in a pink, one-shouldered sundress steals my breath. I watch her where she sits in the cafe, her bare feet jiggling over her flip-flops, wide mouth open and smiling at what she reads, her awareness of her own beauty, bare shoulder an aching reminder of better worlds hidden somewhere in her curling hair, in the blades of grass outside.
The sun has shone and I've worn skirts and walked until I was browner than a week in Mexico, but tomorrow the rain is back. Tomorrow is Monday, and work, and maybe dishes, maybe a morning run along shining wet sidewalks.
Friday, January 14, 2011
All the Saints
You want to whisper here. The ocean roar and clash of waves on sand seem to bracket deep silence, set it off. You look up and down the beach. White sand, water shining green at the edge of the beach then dropping off to blue-black. The Peligroso sign shows a pictogram of a person tumbled in the trough, beaten down by wave after wave.
White sand, water, footprints, but no people. Miles in either direction, and no human beings aside from you.
A geyser of water shoots up, then disappears. You look and look, your eyes awake, your whole self looking, and there it is again. Now you see the blow hole, a great round mouth in the water, the whale sighing and huffing, its shining back sliding just above the surface. Then the tail, unmistakable. Distances and sizes difficult to judge. The tail may be as wide as I am tall.
It's this easy: wade in the surf, lie in the sun, watch the whales who like to play in the deep waters just off this beach.
A few days ago, off a different beach. A boat full of people, music playing, people in polo shirts who are paid to make us jolly. Someone sights the first spout, shouting, leaning over the railing, finger pointing toward blank water. Another spout, another, and the boat gives chase, the volume turned up on Beyonce, Celine Dion. Another tourist boat beside us, several smaller ones. Ahead of us a ridiculous pirate ship, "sails" furled and unmoving, its motor gunned.
A polo-shirted boy tells us to pose and smile, and we do, bemused. He works his way through the crowd, switching English to Spanish, pumping his fists to What a Wonderful World.
More spouts and a tail, and then a leap. The great mammal is up and out of the water just off our prow, showing us his belly, polo shirts cheering and cameras clicking.
We keep up the chase but it's all anticlimax after that. The bartender stands ready but we're all here in recompense for sitting through a time share presentation only to say no. We don't want anything that isn't free.
Back to shore and disembarking, a polo shirt tries to sell us the photo of the breaching whale, already printed and glossy, instant postcard.
The time share salesman told us over breakfast how the whales used to come in closer to shore, but we chased them out to sea. Now the boats find them in their breeding grounds and how long before we've chased them away from there as well? He shrugs and swallows his coffee, and when he stands he's all sales, beckoning us to follow as he trots through the resort.
Nobody chases them here. Here I want to whisper, it's so quiet, the sound of the ocean dropping away when I am up and over the dune. It's afternoon and a few people appear. A family, mom and kids watching from the dune, dad playing out his fishing line along the beach. A wakeboarder and his friends, the body of a young god. I think about Death in Venice while he runs with taut attention for a wave. It doesn't matter that he's not all that good, one long arm reaching to catch himself in a fall.
We turn and clamber up the tiny mountain path and through the break in the fence, balancing on rocks and then it's dirt roads and chickens and dogs and kids playing video games under a blue tarp and men moving a boulder, one looking up as we pass and he laughs, inviting us to laugh with him.
At lunch I point out the nativity scene at the other end of the restaurant. We've seen a few Christmas trees still lingering. J. says he doesn't think it's a nativity scene, rather a prayer altar for all the saints, each one meaning something to someone here. I wonder if I should thank the saints for this place, for the quiet that makes me want to whisper, even after I'm home.
White sand, water, footprints, but no people. Miles in either direction, and no human beings aside from you.
A geyser of water shoots up, then disappears. You look and look, your eyes awake, your whole self looking, and there it is again. Now you see the blow hole, a great round mouth in the water, the whale sighing and huffing, its shining back sliding just above the surface. Then the tail, unmistakable. Distances and sizes difficult to judge. The tail may be as wide as I am tall.
It's this easy: wade in the surf, lie in the sun, watch the whales who like to play in the deep waters just off this beach.
A few days ago, off a different beach. A boat full of people, music playing, people in polo shirts who are paid to make us jolly. Someone sights the first spout, shouting, leaning over the railing, finger pointing toward blank water. Another spout, another, and the boat gives chase, the volume turned up on Beyonce, Celine Dion. Another tourist boat beside us, several smaller ones. Ahead of us a ridiculous pirate ship, "sails" furled and unmoving, its motor gunned.
A polo-shirted boy tells us to pose and smile, and we do, bemused. He works his way through the crowd, switching English to Spanish, pumping his fists to What a Wonderful World.
More spouts and a tail, and then a leap. The great mammal is up and out of the water just off our prow, showing us his belly, polo shirts cheering and cameras clicking.
We keep up the chase but it's all anticlimax after that. The bartender stands ready but we're all here in recompense for sitting through a time share presentation only to say no. We don't want anything that isn't free.
Back to shore and disembarking, a polo shirt tries to sell us the photo of the breaching whale, already printed and glossy, instant postcard.
The time share salesman told us over breakfast how the whales used to come in closer to shore, but we chased them out to sea. Now the boats find them in their breeding grounds and how long before we've chased them away from there as well? He shrugs and swallows his coffee, and when he stands he's all sales, beckoning us to follow as he trots through the resort.
Nobody chases them here. Here I want to whisper, it's so quiet, the sound of the ocean dropping away when I am up and over the dune. It's afternoon and a few people appear. A family, mom and kids watching from the dune, dad playing out his fishing line along the beach. A wakeboarder and his friends, the body of a young god. I think about Death in Venice while he runs with taut attention for a wave. It doesn't matter that he's not all that good, one long arm reaching to catch himself in a fall.
We turn and clamber up the tiny mountain path and through the break in the fence, balancing on rocks and then it's dirt roads and chickens and dogs and kids playing video games under a blue tarp and men moving a boulder, one looking up as we pass and he laughs, inviting us to laugh with him.
At lunch I point out the nativity scene at the other end of the restaurant. We've seen a few Christmas trees still lingering. J. says he doesn't think it's a nativity scene, rather a prayer altar for all the saints, each one meaning something to someone here. I wonder if I should thank the saints for this place, for the quiet that makes me want to whisper, even after I'm home.
Saturday, January 01, 2011
Lillian
Lillian H- was ancient, to my kid brain. Her hair was floss white. She sang in the church choir, her old lady vibrato inspiring endless imitation from my brothers.
I was confused about last names at the time. Her brother lived in the neighborhood, and I took the fact that his last name was different from hers as evidence that she had never married. Her brother was married and had a family and held ice cream socials in his back yard, with homemade ice cream. I never knew if she had been divorced or widowed, but there had been a husband at one time. Mr. H-.
She barely existed for me. Old people seemed hardly human, except for those who fell into the Likes Children category.
Lillian H- did not. To me she was just Old Lady, with old lady vibrato and old lady hair and old lady clothes.
Until she wasn't anymore. I might have been walking home from school, when I saw Lillian H- running down the street. It was autumn.
Apple Avenue ran steeply up the side of the mountain. It was a hard slog to walk up, but you could let gravity take you on the way down, and run. Run to keep up with your feet, run for the fun of it.
Lillian H- was running. This was when I realized she was tall and slender. Not stooped, like so many other elderly women. She was tall and straight. She wore jeans, and her long legs carried her down the hill, her dark gray poncho swirling out behind her. As she passed me, she pulled a leaf from a tree, the branch bouncing back.
Lillian H- was smiling. As though there was nothing better she could imagine than this moment, this run down a steep hill, this leaf in her hand.
In that instant, she was no longer Old Lady to me. It was like a whole room in my head opened up, and I thought: Yes. This is a picture of age I'd never considered before, never knew was possible.
But when my hair is white and I don't exist for anyone under thirty, I won't forget how it feels to run down a steep hill. Lillian H- showed the way.
I was confused about last names at the time. Her brother lived in the neighborhood, and I took the fact that his last name was different from hers as evidence that she had never married. Her brother was married and had a family and held ice cream socials in his back yard, with homemade ice cream. I never knew if she had been divorced or widowed, but there had been a husband at one time. Mr. H-.
She barely existed for me. Old people seemed hardly human, except for those who fell into the Likes Children category.
Lillian H- did not. To me she was just Old Lady, with old lady vibrato and old lady hair and old lady clothes.
Until she wasn't anymore. I might have been walking home from school, when I saw Lillian H- running down the street. It was autumn.
Apple Avenue ran steeply up the side of the mountain. It was a hard slog to walk up, but you could let gravity take you on the way down, and run. Run to keep up with your feet, run for the fun of it.
Lillian H- was running. This was when I realized she was tall and slender. Not stooped, like so many other elderly women. She was tall and straight. She wore jeans, and her long legs carried her down the hill, her dark gray poncho swirling out behind her. As she passed me, she pulled a leaf from a tree, the branch bouncing back.
Lillian H- was smiling. As though there was nothing better she could imagine than this moment, this run down a steep hill, this leaf in her hand.
In that instant, she was no longer Old Lady to me. It was like a whole room in my head opened up, and I thought: Yes. This is a picture of age I'd never considered before, never knew was possible.
But when my hair is white and I don't exist for anyone under thirty, I won't forget how it feels to run down a steep hill. Lillian H- showed the way.
Monday, December 27, 2010
I should write about that
I don't know what to write. It's been too long since the last time I wrote, and the words have been piling up in my head until I can't sort one from the other. I'm afraid that, having begun to type, they'll all fall out in random order: what, in, whangdoodle, of, Lillian, love, it, the.
I should write about the holidays, about solstice, about that year-end assessment we feel compelled to make. I've been reading back through the years, 2009, 2008, looking for clues to how I came to this place.
Might as well look for buried treasure. Might as well explain the pathways of the heart to a fly, read the future in its thousand insect eyes.
I'm shaking my head over the screen, rattling out a crusty build-up of unwritten, unsaid words. There are only beginnings in there. No conclusions. No answers. A dozen stories begun and lost.
Nothing left but the woman at the coffee shop. She puts her to-go latte on a table, places her hands together in prayer pose, and bows her head. Opens her eyes to scoop up the cup and she is gone.
Nothing but the doorman at the strip club. He wishes me a Merry Christmas as I pass. He looks me in the eye and says it with gravity, almost reverence.
Nothing but the family who folds me in as though I have always belonged.
Nothing but the one who puts his arms around my splintered self and sees where I am whole.
I should write about the holidays, about solstice, about that year-end assessment we feel compelled to make. I've been reading back through the years, 2009, 2008, looking for clues to how I came to this place.
Might as well look for buried treasure. Might as well explain the pathways of the heart to a fly, read the future in its thousand insect eyes.
I'm shaking my head over the screen, rattling out a crusty build-up of unwritten, unsaid words. There are only beginnings in there. No conclusions. No answers. A dozen stories begun and lost.
Nothing left but the woman at the coffee shop. She puts her to-go latte on a table, places her hands together in prayer pose, and bows her head. Opens her eyes to scoop up the cup and she is gone.
Nothing but the doorman at the strip club. He wishes me a Merry Christmas as I pass. He looks me in the eye and says it with gravity, almost reverence.
Nothing but the family who folds me in as though I have always belonged.
Nothing but the one who puts his arms around my splintered self and sees where I am whole.
Friday, December 10, 2010
Sunday:
The thing you're not supposed to do is meet someone's eyes. The man sits on a stoop. He's gorgeous. I look right into his large brown eyes.
"The white man's time is over," he says, conversationally. "We will kill you all.
"White devil," he adds as I pass.
Tuesday:
It's 8:30 in the morning, and a guy is pissing behind the courthouse in my alley. He's pissing, yelling something at me, but I can't hear what he says, not about to pull out my earphones to listen.
He's coming toward me, too late to avoid his eyes.
"...the FUCK away from me!" This much is clear through the music. He shakes his pink penis at me, drops scattering in a sunlit arc. I step out into the street to give the man plenty of room.
Wednesday:
First day of my mini-vacation, and it's raining. Can't find my hat, nothing but a scarf to shield me. I huddle in the bank, where it's warm. Hang out at J's office, delaying the trip home in hopes the weather will break.
The weather doesn't break, and I finally venture out. I head for the bus stop, but the rain is hammering down, I'm already wet. I'm already wet, why not keep walking? I walk and relax into the rain, listening to leaves opening up, soaking it in.
These two strangers knocked me off course this week. I don't know why I care. Random people in the street. But it matters.
I'm at the top of the hill now, back at the labyrinth. Nobody else is here today, not in this weather. There's another one inside the cathedral, but I've made friends with the rain.
I walk, and the rain soaks in, softening, opening me up. Today on the bus a woman smiled, genuinely, for no apparent reason except in recognition of another human. I wanted to hug her.
Monday:
There's a crowd outside the courthouse. People are holding small U.S. flags and signs that say Marriage Equality. A woman is crowned with laurel leaves. Two men carry stark black and white signs about God's Law. A woman in pink smiles at these men. Her little sign says Marriage is Love. The crowd is subdued, respectful.
The whole world is here, in my neighborhood. It all matters.
The thing you're not supposed to do is meet someone's eyes. The man sits on a stoop. He's gorgeous. I look right into his large brown eyes.
"The white man's time is over," he says, conversationally. "We will kill you all.
"White devil," he adds as I pass.
Tuesday:
It's 8:30 in the morning, and a guy is pissing behind the courthouse in my alley. He's pissing, yelling something at me, but I can't hear what he says, not about to pull out my earphones to listen.
He's coming toward me, too late to avoid his eyes.
"...the FUCK away from me!" This much is clear through the music. He shakes his pink penis at me, drops scattering in a sunlit arc. I step out into the street to give the man plenty of room.
Wednesday:
First day of my mini-vacation, and it's raining. Can't find my hat, nothing but a scarf to shield me. I huddle in the bank, where it's warm. Hang out at J's office, delaying the trip home in hopes the weather will break.
The weather doesn't break, and I finally venture out. I head for the bus stop, but the rain is hammering down, I'm already wet. I'm already wet, why not keep walking? I walk and relax into the rain, listening to leaves opening up, soaking it in.
These two strangers knocked me off course this week. I don't know why I care. Random people in the street. But it matters.
I'm at the top of the hill now, back at the labyrinth. Nobody else is here today, not in this weather. There's another one inside the cathedral, but I've made friends with the rain.
I walk, and the rain soaks in, softening, opening me up. Today on the bus a woman smiled, genuinely, for no apparent reason except in recognition of another human. I wanted to hug her.
Monday:
There's a crowd outside the courthouse. People are holding small U.S. flags and signs that say Marriage Equality. A woman is crowned with laurel leaves. Two men carry stark black and white signs about God's Law. A woman in pink smiles at these men. Her little sign says Marriage is Love. The crowd is subdued, respectful.
The whole world is here, in my neighborhood. It all matters.
Monday, November 08, 2010
Makeout Room
It's Monday night. I'm standing in a place called The Makeout Room. A disco ball revolves overhead. I'm forty-two years old.
I'm talking and trying to buy a raffle ticket and instead dump change on the floor. I'm on my knees, reaching for coins. "I only care about the quarters," I say, and then hope nobody heard me. Quarters for laundry.
I used to own a washer and a dryer. I used to own a house. Two houses, one after the other. A house in Seattle and a house in Hawaii.
The Seattle house was sweet and snugly built and surrounded with green, but it turned cold inside. A candle on the edge of the tub set my hair aflame. Candles, champagne, hair on fire, and the bedroom at the top of the stairs was colder than the basement.
The Hawaii house was warm and open, people showed up at the door to hang out, talk story. Two floors of house plus a lanai and carport, but no doors I could close, except for the bathrooms.
At the Makeout Room, I hold a beer in one hand and dig in my purse with the other. One-handed, I open my little pill holder, lip a white half-pill into my mouth.
I find people I know. They ask me how I am and I want to ask them: How do I seem? Who am I? What should I do with my life?
Someone waves at me, we know each other to say hello. I've read his book, heard about him long before I met him. I move halfway toward him to say something, but realize I have nothing to say, nothing witty saved up, so stop partway and pretend to be fascinated with the crowd. I want to ask him: When does the fear stop?
Being married somehow protected me from awareness of my age, but now I'm bare. I'm older than most here, except for the tall-headed rocker who will play onstage. But maybe he's always looked that way.
You can see it in the way I reach for skittering coins, unscrew my pill keeper one-handed. I can feel my stockings laddering up my thigh. The veins and thin bones are beginning to show in the backs of my hands.
A poet reads about a woman who crawled into a chimney and died there. They found her by the smell. The body is on its way to that stink from the moment we're born, already dying, cell by cell.
A woman hugs me and tells me I smell nice. I want to turn and feel the warmth of her compliment on all sides. I'm also terrified, wondering how long I can keep it up.
It's a good night, a good show, but I can't wait to get out and back to my neighborhood. The junkies slow-stepping through their dreamtime. The bearded street guy hoarsing out his own Pink Floyd variation: Hey you/Out here in the cold/Getting hungry, getting old, can you help me! Together we stand, divided we fall. We fall!
We! Fall!
Alone, among my neighbors, I can begin to reassemble myself, recognize my body as only itself, only me, only forty-two.
Alone with my keyboard under my fingertips, I'm whole, unquestioning. As forgetful as in the arms of a lover.
I'm talking and trying to buy a raffle ticket and instead dump change on the floor. I'm on my knees, reaching for coins. "I only care about the quarters," I say, and then hope nobody heard me. Quarters for laundry.
I used to own a washer and a dryer. I used to own a house. Two houses, one after the other. A house in Seattle and a house in Hawaii.
The Seattle house was sweet and snugly built and surrounded with green, but it turned cold inside. A candle on the edge of the tub set my hair aflame. Candles, champagne, hair on fire, and the bedroom at the top of the stairs was colder than the basement.
The Hawaii house was warm and open, people showed up at the door to hang out, talk story. Two floors of house plus a lanai and carport, but no doors I could close, except for the bathrooms.
At the Makeout Room, I hold a beer in one hand and dig in my purse with the other. One-handed, I open my little pill holder, lip a white half-pill into my mouth.
I find people I know. They ask me how I am and I want to ask them: How do I seem? Who am I? What should I do with my life?
Someone waves at me, we know each other to say hello. I've read his book, heard about him long before I met him. I move halfway toward him to say something, but realize I have nothing to say, nothing witty saved up, so stop partway and pretend to be fascinated with the crowd. I want to ask him: When does the fear stop?
Being married somehow protected me from awareness of my age, but now I'm bare. I'm older than most here, except for the tall-headed rocker who will play onstage. But maybe he's always looked that way.
You can see it in the way I reach for skittering coins, unscrew my pill keeper one-handed. I can feel my stockings laddering up my thigh. The veins and thin bones are beginning to show in the backs of my hands.
A poet reads about a woman who crawled into a chimney and died there. They found her by the smell. The body is on its way to that stink from the moment we're born, already dying, cell by cell.
A woman hugs me and tells me I smell nice. I want to turn and feel the warmth of her compliment on all sides. I'm also terrified, wondering how long I can keep it up.
It's a good night, a good show, but I can't wait to get out and back to my neighborhood. The junkies slow-stepping through their dreamtime. The bearded street guy hoarsing out his own Pink Floyd variation: Hey you/Out here in the cold/Getting hungry, getting old, can you help me! Together we stand, divided we fall. We fall!
We! Fall!
Alone, among my neighbors, I can begin to reassemble myself, recognize my body as only itself, only me, only forty-two.
Alone with my keyboard under my fingertips, I'm whole, unquestioning. As forgetful as in the arms of a lover.
Saturday, October 16, 2010
Labyrinth
I'm thinking too many things today. Each thought piles on top of the other, possibly related, probably not. Each one stinking of anxiety.
It's time for a walk, time to clean some shit out. My friend L asked me if I had a meditation practice, and I said no, or maybe I said something half-assed, like, Kind of, maybe when I go running. But I'd forgotten that, in fact, I do. L said that it's best right after you've been exercising, when your body is tired and maybe you're still panting. This was something I didn't know, but was doing anyway.
Today is a good day for this. I walk straight up one of the steeper hills in town. There are stairs cut into the sidewalk in the last block. I'm panting, utterly out of breath, when I reach the top. At the top is the labyrinth. It's not a maze: there aren't multiple paths leading to dead ends. It's not a puzzle to solve. It's a single path, folding in and in on itself.
I begin to walk. Today is my mother's birthday. She died almost six years ago. I thought I was going to write about her, but she keeps slipping away. My boyfriend J's mentor and friend recently died. I asked J how he felt about it. I'll never get over it, he said. No, you won't, I answered, but it does get a little easier.
I haven't gotten over my mom's death, and that makes me think about Robert's death when I was sixteen. I saw Robert on the sly when I was twelve. I had a hot crush on him, and he introduced me to second base. I thought we were terribly perverted. The last time I saw him was my last day in Provo before leaving home. He took me for a ride on his motorcycle. The next day I called home from Las Vegas and my mom told me he was dead. He'd been riding his bike on the grass in the park, and the cops started after him. He hit a speed bump at 80+ miles an hour.
The path folds, and folds. My parents never knew about Robert and me. There's more to the story, there's always more, but now I'm thinking about Chrissie. I don't remember the last day I saw her. We were in first grade. The last day I saw her was like any other day. The day after the last day I saw her, I walked to her house to pick her up for school. Her mom said she was sick. Then she was in the hospital, and I wasn't allowed to see her. And then she was dead.
We were best friends. I was her and she was me. She was my adventurous, tomboy self. I'm not over her death, either. If I was a fictional character, I could draw a straight line from Chrissie to an inability to hold onto friends. I could paint it as fear of loss. But that isn't quite true. I have good friends who have been friends for years, but sometimes I go days without answering an email from one of these friends. Sometimes I feel like there's no one I can call when I'm feeling alone.
The path folds. The puzzle I'm solving is my own thoughts. I follow the path in toward the center and think about all the people I loved who have died. I think about my marriage, too, like a death. I think about writing about this, about fiction vs. memoir, about how much I should say, who I should protect.
I used to be suspicious of memoir, of self-revelation. Ralph Waldo Emerson said Fiction reveals truth that reality obscures, and I think that's true, and it would be even more true if this were fiction. But I've been reading some very good memoir lately, and if it's done well, it's about more than just the individual experience. It widens out into something bigger. A reader can see himself in memoir or fiction, and feel less alone. Or she can understand something new about the world, or about how to be a better friend or how to forgive. Or she can taste, for a second, the terror of divinity.
I'm at the center of the labyrinth, and look up to see city rooftops. A flag at half-mast, another fully aloft.
I begin to unfold as I follow the path outward, my limbs moving more loosely, my breath deeper and calmed. A white-bearded man waits to one side as I find my way out. I turn once to see him step into the labyrinth, his eyes following the path.
It's time for a walk, time to clean some shit out. My friend L asked me if I had a meditation practice, and I said no, or maybe I said something half-assed, like, Kind of, maybe when I go running. But I'd forgotten that, in fact, I do. L said that it's best right after you've been exercising, when your body is tired and maybe you're still panting. This was something I didn't know, but was doing anyway.
Today is a good day for this. I walk straight up one of the steeper hills in town. There are stairs cut into the sidewalk in the last block. I'm panting, utterly out of breath, when I reach the top. At the top is the labyrinth. It's not a maze: there aren't multiple paths leading to dead ends. It's not a puzzle to solve. It's a single path, folding in and in on itself.
I begin to walk. Today is my mother's birthday. She died almost six years ago. I thought I was going to write about her, but she keeps slipping away. My boyfriend J's mentor and friend recently died. I asked J how he felt about it. I'll never get over it, he said. No, you won't, I answered, but it does get a little easier.
I haven't gotten over my mom's death, and that makes me think about Robert's death when I was sixteen. I saw Robert on the sly when I was twelve. I had a hot crush on him, and he introduced me to second base. I thought we were terribly perverted. The last time I saw him was my last day in Provo before leaving home. He took me for a ride on his motorcycle. The next day I called home from Las Vegas and my mom told me he was dead. He'd been riding his bike on the grass in the park, and the cops started after him. He hit a speed bump at 80+ miles an hour.
The path folds, and folds. My parents never knew about Robert and me. There's more to the story, there's always more, but now I'm thinking about Chrissie. I don't remember the last day I saw her. We were in first grade. The last day I saw her was like any other day. The day after the last day I saw her, I walked to her house to pick her up for school. Her mom said she was sick. Then she was in the hospital, and I wasn't allowed to see her. And then she was dead.
We were best friends. I was her and she was me. She was my adventurous, tomboy self. I'm not over her death, either. If I was a fictional character, I could draw a straight line from Chrissie to an inability to hold onto friends. I could paint it as fear of loss. But that isn't quite true. I have good friends who have been friends for years, but sometimes I go days without answering an email from one of these friends. Sometimes I feel like there's no one I can call when I'm feeling alone.
The path folds. The puzzle I'm solving is my own thoughts. I follow the path in toward the center and think about all the people I loved who have died. I think about my marriage, too, like a death. I think about writing about this, about fiction vs. memoir, about how much I should say, who I should protect.
I used to be suspicious of memoir, of self-revelation. Ralph Waldo Emerson said Fiction reveals truth that reality obscures, and I think that's true, and it would be even more true if this were fiction. But I've been reading some very good memoir lately, and if it's done well, it's about more than just the individual experience. It widens out into something bigger. A reader can see himself in memoir or fiction, and feel less alone. Or she can understand something new about the world, or about how to be a better friend or how to forgive. Or she can taste, for a second, the terror of divinity.
I'm at the center of the labyrinth, and look up to see city rooftops. A flag at half-mast, another fully aloft.
I begin to unfold as I follow the path outward, my limbs moving more loosely, my breath deeper and calmed. A white-bearded man waits to one side as I find my way out. I turn once to see him step into the labyrinth, his eyes following the path.
Wednesday, September 29, 2010
Virtue
Market Street will never smell so fresh as it does at 5:30 in the morning. It's full dark out, my feet slapping pavement and shopkeepers hosing down the sidewalks. On the second floor of the building at 3rd street a woman is running on a treadmill, under bright lights. I'm a block down the street, two blocks, and the woman in the headphones is running in place.
A man stands partway in the street, his eyes focused high on the building with the abandoned deli, his hat to his heart like he's pledging allegiance.
"I thank you," he says. "I thank you..."
My breath comes hard and I think I can't keep running, I'm sure I can't and I almost stop but then feel the spring inside winding up again, it's only at the very bottom that it winds through and I'm running and it's okay.
It's easy to feel virtuous, running early in the morning when most of the city is still asleep. It's easy to find the division between Them and Us, Them and mighty, virtuous Me, but I don't run to for virtue. I do it to be pretty, I do it to not be sick anymore, I do it for all the selfish reasons.
And the dividing line is not so clear. I live here. I'm one of the people in my neighborhood. I've sat in the strip club, watching the woman's eyes grow bored when the big tipper leaves his spot at the front of the stage. She shakes and steps high because it's her job and the act is dropped, but enough of the customers don't see or don't care. Her skin is smooth and I think it must be very soft. When I was younger, I thought I wanted her job. I wanted to be seen.
We all have our drugs.
There are thieves and con-men and assholes here, just like anywhere, the thug in a good suit is still just a thug. The thieves here aren't so successful, or they'd be somewhere else. They're broken down, like the rest of us.
Ginsberg wrote about human seraphim: The security guard who closes his eyes at me like a blessing. The cluster of early shifters waiting for the bus, a man nodding into sleep on his feet, jerking himself awake. The fireman in his gear at the bottom of the stairs, smiling slightly into the rolling light from the truck. The woman leaning in the Ross entryway with her paper cup of coffee. She squints through the glass at temp workers moving slowly, near the end of inventory, reassembling the store one blouse, one dress, one jacket at a time.
I'm almost back to my building, the awning in sight. I want to stop now and walk the rest of the way, but I find the spring again, winding up and pulling me the last few feet to my door.
A man stands partway in the street, his eyes focused high on the building with the abandoned deli, his hat to his heart like he's pledging allegiance.
"I thank you," he says. "I thank you..."
My breath comes hard and I think I can't keep running, I'm sure I can't and I almost stop but then feel the spring inside winding up again, it's only at the very bottom that it winds through and I'm running and it's okay.
It's easy to feel virtuous, running early in the morning when most of the city is still asleep. It's easy to find the division between Them and Us, Them and mighty, virtuous Me, but I don't run to for virtue. I do it to be pretty, I do it to not be sick anymore, I do it for all the selfish reasons.
And the dividing line is not so clear. I live here. I'm one of the people in my neighborhood. I've sat in the strip club, watching the woman's eyes grow bored when the big tipper leaves his spot at the front of the stage. She shakes and steps high because it's her job and the act is dropped, but enough of the customers don't see or don't care. Her skin is smooth and I think it must be very soft. When I was younger, I thought I wanted her job. I wanted to be seen.
We all have our drugs.
There are thieves and con-men and assholes here, just like anywhere, the thug in a good suit is still just a thug. The thieves here aren't so successful, or they'd be somewhere else. They're broken down, like the rest of us.
Ginsberg wrote about human seraphim: The security guard who closes his eyes at me like a blessing. The cluster of early shifters waiting for the bus, a man nodding into sleep on his feet, jerking himself awake. The fireman in his gear at the bottom of the stairs, smiling slightly into the rolling light from the truck. The woman leaning in the Ross entryway with her paper cup of coffee. She squints through the glass at temp workers moving slowly, near the end of inventory, reassembling the store one blouse, one dress, one jacket at a time.
I'm almost back to my building, the awning in sight. I want to stop now and walk the rest of the way, but I find the spring again, winding up and pulling me the last few feet to my door.
Wednesday, September 15, 2010
Not Boston
Today I'm craving cream and meat, so I go to Boston Market for lunch. It's a fast food place that's trying very hard not to be a fast food place. Today, this is good. I have to get back to the office quick-like, but I don't want to look at a screen while I eat.
The cashier is grandmotherly. Would you like to donate $1 to end child hunger and get a free side with your next meal? she twinkles. How can I say no? She gives me a paper to write my name and my favorite side dish, and I write my full name, realizing it was the wrong thing too late. They post these on the wall. It's just an ad. I write down green beans, although I didn't order them today.
A matron gives me the stinkeye for sitting in a booth. I'm reading The Adderall Diaries, and I can feel her eyes boring through the pages. She has bad hair and a gaudy purse. Her daughters are miffed on her behalf, but a helpful Boston Market employee shows them to another booth.
A homeless guy wanders in. His nappy hair has a layer of dust, like powdered sugar. There's a commotion among the employees. They're trying to make him go away.
He plays with the plant, pulling at the leaves and watching them bounce back, a purse of drool falling from his open mouth. The woman at the next table turns up the volume on her conversation, determined not to notice him. One of the servers hands him a to-go container of food and lifts her arm toward the door. Maybe it's macaroni and cheese, I can't tell.
I need, he says. I need.
The girls in their Boston Market uniforms are moving fast. Napkins and plastic utensils. He's handed things in a flurry, and a tall employee, her chin up, walks toward the door, beckoning him like a child. He follows her outside.
I called Security, but they were too slow, she says, her bones loosening as she walks back to the counter.
It's an interesting bargain. They bribe him with food to leave. He holds them hostage by being there, stinking up the place, making people uncomfortable.
I want to know his story. I feel like I'm getting close to something, but I can't be sure.
How do you know?
The cashier is grandmotherly. Would you like to donate $1 to end child hunger and get a free side with your next meal? she twinkles. How can I say no? She gives me a paper to write my name and my favorite side dish, and I write my full name, realizing it was the wrong thing too late. They post these on the wall. It's just an ad. I write down green beans, although I didn't order them today.
A matron gives me the stinkeye for sitting in a booth. I'm reading The Adderall Diaries, and I can feel her eyes boring through the pages. She has bad hair and a gaudy purse. Her daughters are miffed on her behalf, but a helpful Boston Market employee shows them to another booth.
A homeless guy wanders in. His nappy hair has a layer of dust, like powdered sugar. There's a commotion among the employees. They're trying to make him go away.
He plays with the plant, pulling at the leaves and watching them bounce back, a purse of drool falling from his open mouth. The woman at the next table turns up the volume on her conversation, determined not to notice him. One of the servers hands him a to-go container of food and lifts her arm toward the door. Maybe it's macaroni and cheese, I can't tell.
I need, he says. I need.
The girls in their Boston Market uniforms are moving fast. Napkins and plastic utensils. He's handed things in a flurry, and a tall employee, her chin up, walks toward the door, beckoning him like a child. He follows her outside.
I called Security, but they were too slow, she says, her bones loosening as she walks back to the counter.
It's an interesting bargain. They bribe him with food to leave. He holds them hostage by being there, stinking up the place, making people uncomfortable.
I want to know his story. I feel like I'm getting close to something, but I can't be sure.
How do you know?
Saturday, September 11, 2010
Trust me, again
Tonight I'm with friends. We're looking for someplace to have a drink, and when a man says Excuse me, in a polite voice, we stop. Without thinking twice, we stop and turn our attention on him.
Can you help me, he says. He gives us his name. He says he's from Alabama. Are you lost, we ask. Lost is the least of it, yes, you could say I'm lost. All of this preamble shifts the tone. Urban suspicions on the alert. He keeps starting and stopping, playing it out. I watch the line of his cheekbone. He is playing the part of Exhausted, annoyed with himself, proud and humiliated by the situation. He says he needs to get to Pittsburg on BART. We give him another chance, ready to tell him how to get there. I know how to get there, he almost yells. I want to clap. We're getting the whole show.
Just tell us what you need, we finally say. He lets out a groan. I don't have the money.
I don't have to look, I can hear the disappointment turning my friends' faces blank. In a flat voice, D asks how much. Six dollars and fifty-five cents, he says. My name is XXX, I'm from Alabama. I can give you my email address and return the money.
His props are better than the other guy's. Bluetooth headset. Smart phone showing a map. Handwritten notes, of course. How much for a cab.
We don't have anything, we start to say, but then I see my friends pulling out their wallets. I give in to peer pressure and dig some laundry quarters out. D finally just gives him six dollars. I can give you my email, he starts to say. He sounds angry. We turn away and start walking.
We're quiet for a few steps. I tell them I know this scam. J tells about someone who tried it on him every day. He'd say You already tried this on me yesterday, and the guy would just say, Oh. Oh, and move on to the next mark.
D says, Why don't I feel better? I gave him six dollars, and I just feel worse.
I know what he means. I don't like being played. And with these specific markers. The implication being that people will help someone who already has money. Someone who is just in a temporary tight spot, through no fault of his own. We can imagine such a thing happening to us.
But we can't imagine ourselves homeless. We can't, or we daren't. I live surrounded by people who have fallen off the edge, and it becomes harder every day to see the sharp lines between them and me. I used to live a thin four miles from here, but it was a different planet. I was insulated from these alien creatures who rub up against me now. I didn't see them. If I thought about them at all, it was in abstract terms.
Abstraction is no longer possible. So I come back to this again and again. What does it mean? What do I do with this? Is there a way to push through, to find the common heart that beats for the guy with the Bluetooth headset and beats for me? Could I fly past my own fear to learn his actual story?
I come back to this again, and again I feel I'm no closer to an answer.
Can you help me, he says. He gives us his name. He says he's from Alabama. Are you lost, we ask. Lost is the least of it, yes, you could say I'm lost. All of this preamble shifts the tone. Urban suspicions on the alert. He keeps starting and stopping, playing it out. I watch the line of his cheekbone. He is playing the part of Exhausted, annoyed with himself, proud and humiliated by the situation. He says he needs to get to Pittsburg on BART. We give him another chance, ready to tell him how to get there. I know how to get there, he almost yells. I want to clap. We're getting the whole show.
Just tell us what you need, we finally say. He lets out a groan. I don't have the money.
I don't have to look, I can hear the disappointment turning my friends' faces blank. In a flat voice, D asks how much. Six dollars and fifty-five cents, he says. My name is XXX, I'm from Alabama. I can give you my email address and return the money.
His props are better than the other guy's. Bluetooth headset. Smart phone showing a map. Handwritten notes, of course. How much for a cab.
We don't have anything, we start to say, but then I see my friends pulling out their wallets. I give in to peer pressure and dig some laundry quarters out. D finally just gives him six dollars. I can give you my email, he starts to say. He sounds angry. We turn away and start walking.
We're quiet for a few steps. I tell them I know this scam. J tells about someone who tried it on him every day. He'd say You already tried this on me yesterday, and the guy would just say, Oh. Oh, and move on to the next mark.
D says, Why don't I feel better? I gave him six dollars, and I just feel worse.
I know what he means. I don't like being played. And with these specific markers. The implication being that people will help someone who already has money. Someone who is just in a temporary tight spot, through no fault of his own. We can imagine such a thing happening to us.
But we can't imagine ourselves homeless. We can't, or we daren't. I live surrounded by people who have fallen off the edge, and it becomes harder every day to see the sharp lines between them and me. I used to live a thin four miles from here, but it was a different planet. I was insulated from these alien creatures who rub up against me now. I didn't see them. If I thought about them at all, it was in abstract terms.
Abstraction is no longer possible. So I come back to this again and again. What does it mean? What do I do with this? Is there a way to push through, to find the common heart that beats for the guy with the Bluetooth headset and beats for me? Could I fly past my own fear to learn his actual story?
I come back to this again, and again I feel I'm no closer to an answer.
Wednesday, September 01, 2010
Just this
One day, I'll look back on this time with nostalgia. Do you remember, I'll want to ask.
Do you remember walking by Mr. S. Leather when the handwritten sign is out front, announcing Fetish Photo Shoot Today? The afternoon sun wraps around the bare skin of a man standing just inside the door, chain looping down from the collar around his neck to the slim hand of the man beside him, who has turned to talk to someone just out of sight.
The Asian woman who bursts into open-mouthed sobs. She's helped to the sidewalk by her husband/boyfriend/brother/friend. They sit down on the curb and tears are shocked from her eyes, making a cartoon arc before dropping.
The sweet transwoman at the taco truck. She is businesslike and earnest in her white platforms and uncombed wig. Getting a taco before heading back to work.
The desperately beautiful transwoman on the corner of 6th, her mind unlooping into the street. Her skin is darkly polished and her hot pink thong shows a perfect ass while she harangues nobody, everybody, crossing Market and turning around to cross again, her angry voice riding above bus brakes, cabs, the F Market singing in its track.
The suited man outside Market Street Cinema, slipping me free passes as I come home from work. Store owners and hired brawn watching the street from their shops. One waves and asks why I haven't called.
Do you remember, I'll ask. When I could walk into the gallery space and people would say hello like family.
When the whole world seemed to turn around the axis of Market Street, and all I had to do was hold out my hand to catch a piece of the Everything.
Do you remember walking by Mr. S. Leather when the handwritten sign is out front, announcing Fetish Photo Shoot Today? The afternoon sun wraps around the bare skin of a man standing just inside the door, chain looping down from the collar around his neck to the slim hand of the man beside him, who has turned to talk to someone just out of sight.
The Asian woman who bursts into open-mouthed sobs. She's helped to the sidewalk by her husband/boyfriend/brother/friend. They sit down on the curb and tears are shocked from her eyes, making a cartoon arc before dropping.
The sweet transwoman at the taco truck. She is businesslike and earnest in her white platforms and uncombed wig. Getting a taco before heading back to work.
The desperately beautiful transwoman on the corner of 6th, her mind unlooping into the street. Her skin is darkly polished and her hot pink thong shows a perfect ass while she harangues nobody, everybody, crossing Market and turning around to cross again, her angry voice riding above bus brakes, cabs, the F Market singing in its track.
The suited man outside Market Street Cinema, slipping me free passes as I come home from work. Store owners and hired brawn watching the street from their shops. One waves and asks why I haven't called.
Do you remember, I'll ask. When I could walk into the gallery space and people would say hello like family.
When the whole world seemed to turn around the axis of Market Street, and all I had to do was hold out my hand to catch a piece of the Everything.
Sunday, August 15, 2010
Pobrecito
Pobrecito, I thought. Shouldn't it be pobrecita? And why was she a poor thing?
The word was assembled like a ransom note.
The image got under my skin in a strange way. I'd be feeling sorry for myself, obsessing over the cataclysmic changes I was making in my life, and then I'd walk by the poster.
Pobrecito?
When I scraped my knee as a kid, my mom would kiss it better. "Oh, le pauvre," she'd say, a gentle reminder that it wasn't so bad as all that.
My friend P's mom spoke Spanish. She'd call him Pobrecito in the same tone of voice. Poor boy. Isn't it awful?
Eventually, I moved downtown. I take a different route to work now, coming from the opposite direction. One morning, I see another pobrecito poster.
This time, it's Catwoman.
Or, someone in a Catwoman costume. Why the masculine form of the word?
Are they cross-dressers? Transgender? Or is the "poor thing" the person looking at them?
Is pobrecito a band, maybe? Or a poster artist? Is this his body of work?
Pobrecito follows me into work, sneaks in on me during the day.
It's entirely possible the answer is something depressingly ordinary. In a sense, I don't want to know. The mystery sustains me, in a quiet way.
Thursday, walking home from work, I see a new one.
Pobrecito, I think, as the homeless guy cheerily greets me. I tell him I don't have any cash today.
"It's okay," he says, waving me on, "I know you're cool. See you soon."
Pobrecito, I think. Pobrecito.
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